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Without that agreement, the game would not be possible. There is a time when a game begins—when the players enter the game space—and a time when they leave the game space, ending the game.

The game space can be paused or activated by agreement of the players. We can imagine that the players agree to pause the game for lunch, or so that one of them can go to the bathroom.

The game will usually have a spatial boundary, outside of which the rules do not apply. Imagine, for ex- ample, that spectators gather to observe the kicking contest. Rules for interaction: Within the game space, players agree to abide by rules that define the way the game world operates. The game rules define the constraints of the game space, just as physical laws, like gravity, constrain the real world. According to the rules of the game world, a boy could no more kick the ball from the wrong side of the line than he could make a ball fall up.

Of course, he could do this, but not without violating the game space—something we call cheating. Artifacts: Most games employ physical artifacts; objects that hold information about the game, either intrinsically or by virtue of their position. The ball and the tree in our game are such objects.

When the ball hits the tree a point is scored. We can easily imagine, for example, that as each point is scored, the boys place a stone on the ground or make hash marks in the dirt to help them keep track of the score—another kind of information artifact. The players are also ar- tifacts in the sense that their position can hold information about the state of a game. Compare the position of players on a sports field to the pieces on a chessboard.

Goal: Players must have a way to know when the game is over; an end state that they are all striving to attain, that is understood and agreed to by all players. Some- times a game can be timed, as in many sports, such as football. In our case, a goal is met every time a player hits the tree with the ball, and the game ends when the first player reaches five points. We can find these familiar elements in any game, whether it is chess, tennis, poker, ring- around-the-rosie, or the games you will find in this book.

The Evolution of the Game World Every game is a world which evolves in stages, as follows: imagine the world, create the world, open the world, explore the world, and close the world. Imagine the world. Before the game can begin you must imagine a possible world; a temporary space, within which players can explore any set of ideas or possibilities. Create the world. A game world is formed by giving it boundaries, rules, and ar- tifacts. Boundaries are the spatial and temporal boundaries of the world; its begin- ning and end, and its edges.

Rules are the laws that govern the world; artifacts are the things that populate the world. Open the world. A game world can only be entered by agreement among the play- ers.

Explore the world. Goals are the animating force that drives exploration; they provide a necessary tension between the initial condition of the world and some desired state. Goals can be defined in advance or by the players within the context of the game. They interact with artifacts, test ideas, try out various strategies, and adapt to changing conditions as the game progresses, in their drive to achieve their goals.

Close the world. Although achieving a goal gives the players a sense of gratification and accomplishment, the goal is not really the point of the game so much as a kind of marker to ceremonially close the game space.

The point of the game is the play itself, the exploration of an imaginary space that happens during the play, and the insights that come from that exploration. Imagine the world, create the world, open the world, explore the world, and close the world.

The first two stages are the game design, and the remaining three stages are the play. You can see that a game, once designed, can be played an infinite number of times.

Game worlds are alternative realities—parallel universes that we can create and explore, limited only by our imagination. A game can be carefully designed in advance or put together in an in- stant, with found materials.

A game can take 15 minutes or several days to complete. The number of possible games, like the number of possible worlds, is infinite. By imagining, creating, and exploring possible worlds, you will open the door to breakthrough think- ing and real innovation. Business, like many other human activities, is built around goals. Goals are a way we move from A to B; from where we are to where we want to be. A goal sets up a tension between a current state A—an initial condition—and a targeted future state B—the goal.

In between A and B is something we can call the challenge space; the ground we need to cover in order to get there. In industrial work, we want to manage work for consistent, repeatable, predictable results. Industrial goals are best when they are specific and quantifiable. In such cases, we want to ensure that our goals are as clear and unambiguous as possible. The more specific and measurable the goal is, the better. When we have a clear, precise industrial goal, the best way to address the challenge space is with a business process—a series of steps that, if followed precisely, will create a chain of cause and effect that will lead consistently to the same result.

In any creative endeavor, the goal is not to incrementally improve on the past but to generate something new. Embarking on this kind of project is akin to a voyage of discovery: like Columbus, you may begin your journey by searching for a route to India, but you might find something like America; completely different, but perhaps more valuable.

Fuzzy Goals Like Columbus, in order to move toward an uncertain future, you need to set a course. But how do you set a course when the destination is unknown? This is where it becomes necessary to imagine a world; a future world that is different from our own. In knowledge work we need our goals to be fuzzy. Gamestorming is an alternative to the traditional business process. In gamestorming, goals are not precise, and so the way we approach the challenge space cannot be de- signed in advance, nor can it be fully predicted.

While a business process creates a solid, secure chain of cause and effect, gamestorming creates something different: not a chain, but a framework for exploration, experimenta- tion, and trial and error. The path to the goal is not clear, and the goal may in fact change. To create a complex industrial product requires the close integration of many processes. When you string a bunch of processes together you will see a branching structure with many dependencies.

As long as every step is followed precisely and nothing changes along the way, you will achieve your goal reliably and predictably every time. The management challenge is one of preci- sion, accuracy, and consistency.

Managing creative work requires a different approach. Because the goal cannot be determined precisely in advance, a project must proceed based on intuition, hypotheses, and guesses. This kind of approach is very familiar in the world of the military, where ambiguous, uncertain, volatile environments are the norm. We all know that the military uses games and simulations as a way to practice for war. But they also use something called a concept of operations, or CONOPS, to 1 create an overall picture of the system and the goals that they want to achieve, and 2 communi- cate that picture to the people who will work together to reach those goals.

This may seem like a big challenge, but think about our two boys playing ball: the world we create does not necessarily need to be complicated to be interesting and to help us move forward. Imagining a world can be as simple or as complex as you want to make it, depending on your goal, your situation, and the time you have available. Unlike a large and complex process, which must be planned in advance, a concept of operations is under constant revision and adjustment based on what you learn as you go.

In gamestorming, games are not links in a chain, so much as battles in a campaign. Fuzzy goals straddle the space between two contradictory criteria. At the other end is the goal that is so vague as to be, in practice, impossible to achieve; for example, peace on Earth or a theory of everything. While these kinds of goals may be noble, and even theoretically achievable, they lack sufficient definition to focus the creative activity. Fuzzy goals must give a team a sense of direction and purpose while leaving team members free to follow their intuition.

Sensory: The more tangible you can make a goal, the easier it is to share it with others. Sketches and crude physical models help to bring form to ideas that might otherwise be too vague to grasp. You may be able to visualize the goal itself, or you may be able to visualize an effect of the goal, such as a customer experience. Either way, before a goal can be shared it needs to be made explicit in some way. Progressive: Fuzzy goals are not static; they change over time.

The process of moving toward the goal is also a learning process, sometimes called suc- cessive approximation. Fuzzy goals must be adjusted and sometimes, completely changed based on what you learn as you go.

Innovative teams need to navigate ambiguous, uncertain, and often complex informa- tion spaces. What is unknown usually far outweighs what is known. Voyages of discovery involve greater risks and more failures along the way than other endeavors.

But the rewards are worth it. Game Design If you want to get started with gamestorming right away, you can flip to the collection of games that begins with Chapter 5 and start making things happen in your workplace. A game has a shape.

It looks something like a stubby pencil sharpened at both ends. The goal of the game is to get from A, the initial state, to B, the target state, or goal of the game. Target State: To design a game you begin with the end in mind: you need to know the goal of the game. What do you want to have accomplished by the end of the game? What does victory look like?

I like to think of the target state in terms of some tangible thing, which can be anything from a prototype to a project plan or a list of ideas for further exploration. Remember, it helps if a goal is tangible; it gives people some- thing meaningful to shoot for and gives them a sense of accomplishment when they have finished. Initial State: We also need to know what the initial state looks like. What do we know now? Who is on the team? What resources do we have available?

Once we understand the initial and target states as best we can remember that many goals are fuzzy! A game, like a good movie, unfolds in three acts. In the second act, you will explore and experiment with the themes you develop in act one. Each of the three stages of the game has a different purpose.

The opening act is about getting the people in the room, the cards on the table, the information and ideas flowing. You can think of the opening as a big bang, an explosion of ideas and opportunities. The more ideas you can get out in the open, the more you will have to work with in the next stage.

Exploring: Once you have the energy and the ideas flowing into the room, you need to do some exploration and experimentation.

This is where the rubber hits the road, where you look for patterns and analogies, try to see old things in new ways, sift and sort through ideas, build and test things, and so on.

Closing: In the final act you want to move toward conclusions—toward decisions, actions, and next steps. This is the time to assess ideas, to look at them with a criti- cal or realistic eye.

Which of them are the most promising? Where do you want to invest your time and energy? There is no single right way to design a game. Every company, and every country, has its own unique culture, and every group has its own dynamic.

Some need to move faster than others, and some need more time for reflection. For example, in Finland, long silences where people consider and reflect on a question before answering are not uncommon. Opening, exploring, and closing are the core principles that will help you orchestrate the flow and get the best possible outcomes from any group.

A typical daylong workshop may be filled with many games that can be linked to each other in an infinite variety of ways. Games can be played in series, where the outcomes of one game create the initial conditions for the next. Each game has a clear opening, exploration, and closing. The outcome of each game serves as the input for the next.

This kind of design is very simple, clear, and easy for everyone in the group to understand. In the next series, three longer, more intensive games are interspersed with two shorter games.

The shorter games might give the groups a chance to loosen up a bit between more intensive activities. Sometimes, especially with a larger group, it makes sense to pursue multiple goals. This is a way to keep groups small and dynamic, and also increase the variety of ideas, by playing multiple games in parallel.

People also need time to reflect on ideas. Breakouts or breaks can be a good time for this. For example, you can ask people in a group to spend time working on an individu- al exercise which they can then share with the group. This kind of string might indicate a workshop including multiple ideas and agendas that need to be worked on in parallel. This kind of design might be appropriate for a group where everyone had some level of interest in every component of the day, and nobody wanted to be left out of any part of the game.

Sometimes you make discoveries while a game is underway that require a change in direction. In the following series, the initial opening and exploration revealed a new goal that the team had not anticipated.

The group agreed to break into two subgroups; one group pursued the original goal and the second worked on the new goal. Where do you begin? What do you compose with? Remember that gamestorming is a way to approach work when you want unpredictable, surprising, or breakthrough results—a method for explo- ration and discovery.

Think about the people who explored the natural world for a moment: people like Columbus, Lewis and Clark, Ernest Shackleton, and Admiral Byrd. Imagine what it must have felt like to be one of these explorers. You are searching for something that you may not find. You have only a vague idea of what you will encounter along the way, and yet, like a turtle, you must carry everything you need on your back. Chapter 2 10 Essentials for Gamestorming In the s, the Mountaineers Club developed a list they called the 10 essentials, for people who want to explore in backcountry or wilderness areas.

These are the things you want to be sure you have anytime you go into the backcountry. They include matches, blanket, flashlight, and so on. Like the explorers of the past, we often have only a vague sense of what we are looking for and are not sure what we will find when we get there.

Based on our collective experi- ence, we have compiled a list of the 10 essentials for gamestorming. These are the methods we employ most often in our work, and they are also the things you will find most useful if you find yourself in a difficult meeting. If you practice and become comfortable with these 10 things, you will be able to work your way through nearly any challenge. Opening and closing is the way you orchestrate your gamestorming activities. Like breathing, it underlies every activity, giving it rhythm and life.

Think about the opening and closing arguments in a court trial. The purpose of the opening is to establish a frame of reference, set the context, and lay out the themes that will be explored in the trial. The closing argument precedes and prepares the way for the jury or judge to make a decision.

To open is to get people thinking and spark their imaginations. To open you need to create a comfortable environment where people feel invited and welcome so that they will open their minds and explore possibilities they may not have considered before. Closing is about bringing things to a conclusion, moving from thinking mode into doing mode. Closing is about making choices and decisions.

When you are exploring creative possibilities you need to shut down the critical part of your mind, and when you are making difficult choices, you should not try to be creative. Keep them separate and do them in order. Close everything you open. If you open something you must close it, or you will risk losing the energy of the group. Opening can feel overwhelming.

Fire Starting In knowledge work, fire-starting techniques are the spark that ignites the imagination, a call to adventure. They initiate a quest or search. In the wilderness, the way you start a fire is very important, and in gamestorming the same is true. Start a fire in the wrong way or in the wrong place, and you may soon find that things are out of control—you can have a raging forest fire on your hands. By the way you initiate an inquiry you can inspire the kinds of thought, reflection, emotion, and sensation that are most likely to get you the result that you want.

The most common and powerful fire-starter is the question. A good question is like an arrow you can aim at any challenge. The way you frame a question will lay out a vector, a line of inquiry that points in a certain direction. There are many kinds of question- ing techniques and they bear careful study and practice. Another common fire-starter is called fill-in-the-blank, in which you craft a short phrase or sentence and ask people to fill in the blank like they would on a test.

For example, if you want to explore customer needs, consider how customer needs are typically expressed. Artifacts As you begin to collect, sort, and organize information it can quickly become over- whelming.

How do you keep track of it all? In archeology, an artifact is anything made or shaped by a human hand—especially when it has archaeological or historical interest. In knowledge work, an artifact is any tangible, portable object that holds information.

An artifact can be anything from a piece of paper to a sticky note or index card. Artifacts make it easier to keep track of information by making it a part of the environment. The pieces in any game, such as cards, counters, and dice, are artifacts.

When you do something as simple as moving salt- and peppershakers on a tabletop to tell a story, you are transforming them into knowledge artifacts for the sake of your tale.

The shape and color of each piece, and its position relative to the board and to the other pieces, contains a rich set of information that can help you make better decisions about the game. Artifacts are carriers of meaning; just like chess pieces on a board, they make knowledge or information explicit, tangible, portable, and persistent.

When you write an idea on a sticky note you are creating an information artifact. When you have created many such artifacts, they can become more or less useful depending on how you distribute them in your environment.

Node Generation A node is anything when seen as part of a larger system. As a knowledge explorer, when you create artifacts you will usually be thinking of them as elements in something larger.

In the opening stages of any inquiry, the first order of business is to generate as many artifacts—nodes—as possible, so you want to begin from as wide an angle as possible. We call this kind of exercise node generation. To post up, you begin with some kind of fire-starter to set the parameters that define your list.

To start with a simple example, imagine that you are going shopping and need to create a list of groceries. Doing this accomplishes two goals. Second, by asking people to write each idea on a separate sticky note, you are generating a set of modular, movable artifacts that you will later be able to shuffle, sort, and reorganize. The breakout begins when you ask people to start writing ideas, and the report back ends when everyone has finished sharing ideas and the board is filled with sticky notes.

Meaningful Space Imagine trying to play chess without a board. This highly contagious virus has put our lives on pause and forced us to forgo many of the day-to-day habits we cherish.

But once the pandemic really ends, we can come out bitter, or we can come out better. The point is how we reset our systems and get back on track. Gamestorming is designed to creatively engage curious minds and convert the threat of coronavirus into an opportunity for social transformation.

It contains 44 mini-games to creatively engage readers in matters important to the future of humanity. Let's Get Back on the Track! Nursing Informatics Author : W. This book presents the proceedings of the 13th International Conference on Nursing Informatics, held in Geneva, Switzerland, in June This biennial international conference provides one of the most important opportunities for healthcare professionals from around the world to gather and exchange expertise in the research and practice of both basic and applied nursing informatics.

The book includes all full papers, as well as workshops, panels and poster summaries from the conference. Subjects covered include a wide range of topics, from robotic assistance in managing medication to intelligent wardrobes, and from low-cost wearables for fatigue and back stress management to big data analytics for optimizing work processes, and the book will be of interest to all those working in the design and provision of healthcare today. This lesson includes a list of the 10 essentials for gamestorming.

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If you want to discover how to plan and run effective meetings that solve problems, create solutions and create a culture of collaboration let the examples in this book guide you. This lesson includes a list of the 10 essentials for gamestorming.

It's not an exhaustive list by any means, but rather a solid, dependable, basic toolkit. These are the methods we employ most often in our work, and they are also the things you will find most useful if you find yourself in a difficult meeting. If you practice and become comfortable with these 10things, you will be able to work your way through nearly any challenge.

While firmly acknowledging the importance of play in early childhood, this book interrogates the assumption that play is a birthright. It pushes beyond traditional understandings of play to ask questions such as: what is the relationship between play and the arts — theatre, music and philosophy — and between play and wellbeing?

What do Australian Aboriginal conceptions of play have to offer understandings of play? The book examines how ideas of play evolve as children increasingly interact with popular culture and technology, and how developing notions of play have changed our work spaces, teaching practices, curricula, and learning environments, as well as our understanding of relationships between children and adults.

Reconsidering the common focus on play in early education, to investigate its broader impact, this collection offers a refreshing and valuable addition to studies on play, reconceptualizing it for the 21st century.

Important topics of IPS2 research presented at the conference are: planning and development, sustainability, business models, operation, service engineering, knowledge management, ICT, modeling and simulation, marketing and economic aspects as well as the role of the human in IPS2.

With only three finalists being selected each year, many excellent submissions do not receive the recognition they deserve. To rectify this, the ISPIM Dissertation Award cast its spotlight beyond the top three dissertations and onto a much greater number of entries. Compiling the top 28 submissions received this year, 'New Waves in Innovation Management Research' is organized into six thematic sections that cover areas such as investments, collaboration, and creativity.

Presenting a broad range of case studies and data from across global, this edited volume illustrates the breadth of research potential in the coming wave of innovation management. This book will be of interest to students, researchers and professional managers, alike, who are interested in or actively involved in the latest research on innovation management.

How well does your organization respond to changing market conditions, customer needs, and emerging technologies when building software-based products? This practical guide presents Lean and Agile principles and patterns to help you move fast at scale—and demonstrates why and how to apply these paradigms throughout your organization, rather than with just one department or team. What beliefs are stopping you right now?

You have a choice. You can create the world you want to live in, or live in a world created by others. If you are ready to start making changes, read this book. They were all inveterate doodlers. These powerhouse minds knew instinctively that doodling is deep thinking in disguise-a simple, accessible, and dynamite tool for innovating and solving even the stickiest problems. Sunni Brown's mission is to bring the power of the Doodle to the rest of us.

She leads the Revolution defying all those parents, teachers, and bosses who say Stop doodling! Get serious! Grow up! She overturns misinformation about doodling, demystifies visual thinking, and shows us the power of applying our innate visual literacy. She'll teach you how to doodle any object, concept, or system imaginable, shift habitual thinking patterns, and transform boring text into displays that can engage any audience. She is founder of a creative consultancy, an international speaker, the co-author of Gamestorming, and the leader of a global campaign for visual literacy called The Doodle Revolution.

Her work on visual literacy and gaming has been featured in over 35 nationally-syndicated news programs and reported on in The Wall Street Journal, CNN. Magazine, etc. She lives in Keep Austin Weird, Texas. Innovation Through Understandingsm The toughest part of innovation? Accurately predicting what customers want, need, and will pay for.

Then, Hohmann shows how to integrate the results into your product development processes, helping you focus your efforts, reduce your costs, accelerate time to market, and deliver the right solutions, right from the start. This book is packed with physical and verbal exercises to help you organize and run a brainstorming session that engages all personality types. The Big Book of Brainstorming Games gives you the tools and knowledge to build a solid, structured foundation for free-form interaction and fearless conceptualizing.

Now you can get everyone in on the game and make great things happen! It allows you to have the essential ideas of a big book in less than 30 minutes. By reading this summary, you will discover "gamestorming", or how gaming can help you get out of the meeting routine and transform your business. You will also discover : that gaming can help you achieve your goals; that they can help you think about a product, define a strategy, or share knowledge; that these games can be adapted to the situation and the sector of your company; that you can set them up even without any special knowledge of gamestorming session facilitation; that they have a real impact on company performance.

In the very serious world of business, gaming does not often have its place, as it is - wrongly - considered as a distraction. It is, however, an effective way to stimulate creativity and involvement of the participants.

With precise intentions, the right games and a few animation keys, you will find that playfulness can be put at the service of practice.